Bateman French Opera: La Belle Hélène

Event Information

French Theatre

Proprietor / Lessee:
H. L. [impressario] Bateman

Manager / Director:
H. L. [impressario] Bateman

Event Type:

Record Information


Last Updated:
24 August 2017

Performance Date(s) and Time(s)

06 Apr 1868, Evening
07 Apr 1868, Evening
08 Apr 1868, Evening
09 Apr 1868, Evening
10 Apr 1868, Evening
11 Apr 1868, Evening

Performers and/or Works Performed

aka Belle Helene, La; Schöne Helena, La; Schone Helena, La
Composer(s): Offenbach
Text Author: Halévy, Meilhac
Participants:  Bateman French Opera Company;  Mlle. Marguerite (role: Loena);  Monsieur Fleury (role: Euthycles);  Mlle. [soprano] Mathilde (role: Parthoenis);  Monsieur [tenor] Bendich (role: Ajax I);  Lucille [vocalist] Tostée (role: Hélène);  Monsieur [baritone] Monier (role: Ajax II);  Onquot de [vocalist] Felcourt (role: Oreste);  Monsieur [tenor] Hamilton (role: Philocomes);  Monsieur [baritone] Duchesne (role: Agamemnon);  Monsieur [vocalist] Guiffroy (role: Pâris);  Monsieur [tenor] Lagriffoul (role: Calchas);  Monsieur [tenor] Leduc (role: Ménélas);  Monsieur [tenor] Valter (role: Achille);  Mlle. [actor] Juliani (role: Bacchis)


Advertisement: New York Herald, 06 April 1868.
Announcement: New-York Times, 06 April 1868, 5.
Advertisement: New-York Times, 06 April 1868, 7.
: Strong, George Templeton. New-York Historical Society. The Diaries of George Templeton Strong, 1863-1869: Musical Excerpts from the MSs, transcribed by Mary Simonson. ed. by Christopher Bruhn., 07 April 1868.

“Dined and went to French Theatre, sat in Parquette, and saw La Belle Helene. What a little [illeg.] of diablesse that little Tostee is! The poor little woman has a severe cold, but did her work with the utmost grace, vivacity, and impudence.”

Review: New York Herald, 08 April 1868, 3.

“French Theatre.—That operatic dissipation, ‘Les Belle Hélène’ continues to draw and charm the largest audiences of the season.  Offenbach is the Henry Heine of musical writers. He is exquisitely sensuous, and can touch a strain when he will that is beyond all the delights of sense, and thrills the soul with the delicacy of its suggestion; yet before he leaves it he is sure to give it the force and quality of downright farce. No romance of the masters has more dainty thought in it than ‘Amours Divine,’ the finale of the second act.  ‘Filez’ is full of dramatic point, and there never was a farcical situation fuller of the broadly grotesque than ‘Oca Rois.’ ‘Hélène’ is, in short, full of gems, in whatever style the taste may fancy, and for treating the public to so rare a dish the enterprising manager deserves the very great success he has achieved. The piece is dressed and mounted admirably and two or three of the scenes are exquisite little classic studies in the pictures they present of antique life. Prominent in the number of these is the picture given in the second act, when all the exhilarated revelers come on, merry with wine and splendid in garlands. All the old favorites of the company surpass their former triumphs even in the spirit and skill with which they acquit themselves through the whole of this jolly little opera.”

Announcement: New York Post, 09 April 1868.
Review: New York Clipper, 11 April 1868, 6.

“‘La Belle Helene’ is in its third week at the French Theatre. The critic who, in speaking of the ‘Duchess of Gerolstein,’ remarked that ‘there lurks a spider in the Can-Can,’ is supposed to have lingered round the Can-Can till he ‘spied ‘er. He’ll e’en admit now that the new opera is not open to the same objection as the ‘Duchess’ was.”